Aztec calendar stone, cast by Dionisio Abadiano, 1889. Albumen print. Via Getty Open Content
"We started talking about references, looking at photo books, and it’s kind of a hybrid between being a little bit conceptual and being very theoretical," Van Hoytema says of the developing visual identity of the film. "But at least half of it is being sort of intuitive and going with your own taste."
The DP was particularly inspired by the work of Japanese photographer Rinko Kawauchi, whose 6x6 square photographic studies of very trivial things in life had a compelling texture and a nice sort of palette. “She had a lot of influence, but of course it’s always a collection where you’re sort of trying to define some sort of a taste,” he says. “You’re always trying to explain to somebody else what your taste is, and it’s never like, ‘This photographer tells it exactly.’ It’s always a collection of sources that define it.
"In every project, I sort of find 30 or 40 stills that, in a way, capture one part of this thing that you’re maybe after. And if you’re collaborating with somebody, the other person understands that and those certain elements that are represented there. But you never really know it until you start working and start putting everything together and making concrete images. And then the pictures you create yourself become the reference, and you start learning from them and putting things together from those. It’s a very hybrid, liquid, abstract process for me."
Richard Avedon and Sophia Loren, New York, 1966.
the leftovers | "p i l o t"
God sat this one out.